Moshe Safdie, the master draughtsman behind Marina Bay Sands and Jewel Changi Airport, offers reflections on his long career in architecture and the upcoming US$8 billion expansion of Singapore’s renowned landmark
One hundred and seventy-three steps, recalls architect Moshe Safdie, of the precise tally ingrained from his boyhood climbing up the contours of his hilly hometown to catch a bus to school. In the morning, he would skip two steps at a time, rain or shine, to the crest, his back against the shimmering sapphire of the Mediterranean sea. The afternoon descent was an exercise in speed, leaping over four at a time, always hoping to break his own record.
One spring day, Safdie dashed home from school with great excitement, reaching his family’s top-floor apartment to announce he could bring home a beehive. A sugar shortage allayed his parents’ initial reservations and so it was installed on the roof when it arrived. The modest package consisted of a basic box, a family of bees with its queen and a series of empty frames.
He was entranced. Week after week, he monitored the colony’s progress. In an orderly fashion, the bees constructed their house of wax in perfect hexagonal geometry. As they worked, he stuck his nose into books and learnt that the cells were not all alike and served different purposes. Some were for raising eggs while others, once filled with honey, would be sealed for storage.
“I felt witness to the construction of an entire city, panel by panel, neighbourhood by neighbourhood,” he pens in his essay in Falling for Science: Objects in Mind, a collection of stories of how mundane objects sparked intellectual journeys. “Even for an 11-year-old, it was clear that this complex world was highly efficient.”
Shortly thereafter, his family relocated from their sunny port city home to snowy Montreal, Canada. When the time came to prepare for university, there was, unequivocally, only one path for young Safdie: architecture.
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Seminal start
Upon graduating from McGill University, Safdie embarked on a pivotal apprenticeship with Louis Kahn in Philadelphia, the US. Kahn, a colossus of 20th-century modernism, stands in the esteemed company of Le Corbusier and Ludwig Mies van der Rohe. “I was lucky to get the job. I was very young — only 22,” he reminisces on his 87th birthday.
Safdie’s student days were enriched by Bernard Rudofsky’s Architecture without Architects and Buckminster Fuller’s innovative studies. But it was during his tenure with Kahn that he encountered D’Arcy Thompson’s On Growth and Form. “He was the one who started the science of morphology. That book was very inspiring for me,” he shares. The bees on his roof provided a reference point to Thompson’s work in mathematical biology, easing his comprehension of the concept that the shapes and forms of living organisms could be deciphered through mathematics and physics, as so widely depicted in Thompson’s analysis of the nautilus shell’s logarithmic growth.
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Kahn’s influence greatly shaped Safdie’s approach to architecture and, consequently, his own practice. “There are two aspects to this. I learnt from Kahn to give equal attention to the sketching period as much as when the building is being built. That was significant for me. You have to follow up in each and every phase. If you don’t, there’ll be consequences. I’d say my office is very much structured this way.
“The other is from the architecture itself. I think he was the first to recognise that contemporary buildings have a complexity that ancient buildings did not, with many systems like air conditioning. He tried articulating and giving a place to all of that in architecture instead of hiding everything behind the scenes. And so the buildings became expressive of what was within them. That inspired me very much as a young person and it’s the reason why I wanted to work for him.”
Habitat 67 in Montreal, Canada proved to be the pivotal launchpad for Safdie’s career
It was during this formative period that Safdie developed Habitat 67 in Montreal for the World Exposition in 1967. Originating as his thesis project at McGill, the groundbreaking work served as the Canadian Pavilion, pioneering a revolutionary vision for urban housing. It leveraged prefabricated construction techniques to reduce costs while integrating the cherished qualities of a suburban home into an urban high-rise. The complex features stacked modular concrete units, forming interconnected residential blocks with thoughtfully designed communal spaces. Crucially, each dwelling boasts abundant natural light and air, alongside a private garden terrace — hallmarks that would become integral to his subsequent designs.
“The fact that we succeeded in building it was kind of a miracle, both in terms of the opportunity and the team of young architects who worked together to achieve something of great complexity that still stands 60 years later. It was a fairy-tale experience,” he says.
While most pavilions were disassembled upon completion of the Expo, Habitat 67 continues to serve as a successful housing complex even today. Much like other monumental structures conceived for grand expositions, such as the iconic Eiffel Tower in Paris or Crystal Palace in London, Habitat 67 remains as an emblematic testament to the architectural and societal aspirations of its era. Moreover, two years ago, a collaboration between Safdie Architects, Epic Games and Neoscape managed to fully materialise the housing complex, with additional elements such as a hotel, school and office spaces, within the digital realm.
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Sweet serendipity
Habitat 67 proved to be the pivotal launchpad for Safdie’s career, propelling him to international recognition and enabling him to conceive world-class landmarks across the globe. “I’ve worked with so many different cultures and each place is completely different in how you build, from India to the US to Senegal. One of the things about architecture is, as it evolves from project to project, there’s a cumulative enrichment.”
As fate would have it, at the end of an inauguration ceremony of one of his developments, casino king Sheldon Adelson, founder of Las Vegas Sands, approached Safdie — he was in line for the bathroom, of all places — to offer compliments for a job well done.
“He said he was working on a project for the government of Singapore and that he’d been at it for several months. They wanted a modern building and he asked if I would be interested in coming on board. We had four months left because they had worked with other architects for the better part of the programme. I accepted the commission and we dove right into it, mobilising the office. Actually, the building got built pretty well as we designed it, which was kind of a surprise.”
The expansion includes a new 15,000-seat arena and 55-storey hotel adjacent to the existing Marina Bay Sands
Indeed, the resulting Marina Bay Sands (MBS) ended up becoming a veritable symbol of the island republic. “They asked for it to be in the terms of reference but how do you promise to do such a thing? You never know. When they said they wanted something as iconic as the Sydney Opera House, I thought they were fantasising. Particularly with a commercial project, it’s not easy to achieve. But we were certainly thrilled when it happened,” he chuckles.
The octogenarian wants to clear the air about one thing, though. “Somebody mentioned MBS was inspired by a deck of cards. But no, I don’t even play cards. What I wanted was the building to sort of open up and create an atrium at the base. And because the sides got tighter and tighter, the slope varied from one to the other. I wanted them to maintain a lightness, so instead of having a block, I slipped it, so that you can see each tower is made up of two. That might look like a deck of cards, but it certainly wasn’t my inspiration.”
As MBS and Singapore turn 15 and 60 respectively, the Lion City’s renowned skyline is poised for a significant transformation with a new US$8 billion ($10.3 billion) development by Las Vegas Sands.
This ambitious project will introduce an ultra-luxury resort and a 15,000-seat arena to the Marina Bay precinct. Naturally, Safdie was called back to lend his Midas touch to the new 55-storey hotel, while global architectural design firm Populous presides over the entertainment venue.
Asked if the new property was part of the original strategy, Safdie answers: “No, I was not thinking of additions at all, I must confess. When the opportunity first came up on the land, I knew that the building should not be a continuation. Many people expected another slab and an extended roof. But I thought as one is linear, the other should stand on its own, like an exclamation mark.”
Drawing inspiration from the island’s lush urban greenery, the soaring 570-suite luxury hotel will incorporate his signature biophilic design, with each room having its own private garden terrace. Visitors will discover an extensive array of amenities, including diverse dining experiences, luxury retail boutiques, gaming and comprehensive spa and wellness centres. Furthermore, the project will have about 200,000 sq ft of premium meeting space, catering to both leisure and business travellers.
“We didn’t have a big area on the roof to do something dramatic, but I felt we should. So we developed the idea of stacking different elements, like two boomerangs countering each other. So the roof extends vertically with several layers, instead of linearly,” he elaborates on the 76,000 sq ft Skyloop, which crowns the tower.
Apart from offering 360° views of Marina Bay and the Singapore Strait, it will weave several points of public access, including an observatory, restaurants and lush rooftop gardens. Exclusively for hotel guests, the upper Skyloop will provide secluded experiences with private cabanas and infinity-edge pools. There will also be a cantilevered terrace for yoga and speciality events.
“The inspiration was to just make it an exciting place. People can say it looks like a boomerang, which is a reference to Australia — not so,” he quickly debunks.
“I think the architectural quality of it is that it’s a very green building. All the rooms have landscaped balconies. But the main component is the roof. It’s almost like it’s spinning. You have one going this way and one going the other. The feeling is like you’re turning around, looking everywhere. We wanted it to complement MBS but have its own identity.
“The initial design placed this tower right next to MBS with the arena on the other side. But two, three years after we started, I thought it wasn’t a good thing to do, so we put the arena in between. The Urban Redevelopment Authority and Housing and Development Board liked it, and the client said let’s go for it. I think that distance has done it a lot of good.”
One of the key distinctions between the two establishments is exclusivity. “In MBS, while the lobby serves the hotel, the public also marches in and out because the atrium ties nicely to the shopping areas. I think this new hotel is much more of an exclusive experience, like living in an oasis. Its lobby is quite discreet. But what surrounds it, including the arena, is very much part of the city. We have public accessible walkways and terraces in the new project that will be very exciting. The sum of the total is way better than the parts. Looking at it now, I think it’s going to be okay.”
A bird’s-eye view of the Skyloop crowning the tower
A sense of place
Beyond building iconic structures, Safdie has dedicated a significant portion of his illustrious career to nurturing the next generation of minds, serving not merely as an instructor, but as a guiding force in academia, from his alma mater McGill (to which he generously donated his professional archives and unit within Habitat 67) to Yale and Harvard, where he served as director of the Urban Design Program from 1978 to 1984.
“I have a series of lectures at Harvard this year about belonging. How do you make buildings that feel like they belong in that place and not just imported? They should draw from the places as much as you can bring to it. It has to absorb the culture and sensibilities of those who will be living and working in it.
“I think the problem with cities today is density, which is dehumanising, and congestion, which comes from unresolved transport problems. Both need revolutionising. As we build around the kind of density we see here — Singapore is all high-rise — we have to do it in a way that’s full of green, air and light. Even though you’re stacking a lot of people in one place, make sure you provide outdoor and communal spaces and integrate plant life. Otherwise, life becomes like living in an urban jungle, which most people hate.”
For Safdie, nature is far more than an aesthetic consideration. It is an indispensable collaborator and a fundamental design instrument. He does not just build on the land, he builds with it, allowing nature to continually inform and enrich his architectural language, ensuring his properties are deeply contextual and regionally authentic expressions.
“What I’ve learnt from some of the things we’ve done is that it’s really possible to bring nature in in a dramatic way, even to an airport like Jewel [Changi Airport],” he says. “You get off a long flight and land in a place of transport, but what awaits is a wonderful garden you can enjoy. The tropics become comfortable even if it’s steaming hot outside.” While the phytoncides from plants can certainly ease those pre-flight nerves and boost energy after a gruelling journey, the project demonstrates that the sense of well-being and connection we experience in nature can also be incorporated into built environments.
At the heart of all of his creations lies a unifying philosophy. “I wrote a book, many years ago, entitled For Everyone a Garden and I still stand by the motto,” he says. This principle, embraced nearly 60 years ago during the construction of Habitat 67, remains a cornerstone of his work today. Fans can also pick up his memoir, If Walls Could Speak, which recounts the breadth of his architectural journey, detailing the significant triumphs, challenging setbacks and foundational tenets that have guided his career.
From left: Senior partner at Safdie Architects Jaron Lubin, Las Vegas Sands President and COO Patrick Dumont and Safdie at the groundbreaking ceremony of the new development / Photos: Marina Bay Sands
The test of time
When it comes to leaving a legacy, Safdie admits it is not something he dwells on excessively. “Except you want to leave behind buildings you’re proud of that serve their purpose. I think the test comes 20, 30 years after you finish.
How did they stand up to the life within them and are they still relevant today? A building well lived is the ultimate success.”
Thinking about the students in those lecture halls, his outlook is optimistic.
“I think architecture is very complex. I just hope whatever I built has in it lessons, and that some of those would be picked up by the next generation and be meaningful to them. When I go to schools and talk to students, often it seems to be working.
“Habitat was very radical when I built it, and there were decades when it was ignored and forgotten, I felt. But now, some of the next generation are embracing it and doing projects in that spirit. It’s kind of a good feeling seeing the seed of ideas that are being picked up and developed.”
These days, Safdie still tries to keep up with his morning swims. “Sometimes I come out of the pool to make a sketch because I have a new idea. I try to do it every day.” He deeply treasures the moments shared with family too. “These days, my grandchildren are pretty entertaining,” he laughs, adding, “I have six plus one great-granddaughter.”
Although his career has taken him across the globe, he still finds immense joy travelling for leisure. “I’ve lived many years in Canada and the US and love spending time in Italy. I’ve been to Bhutan twice.” He hopes to tick Portugal and New Zealand off his bucket list one day. “The nice places are the places you haven’t been.”
